Liontamer

Hi, I'm Torby Brand. This is my OCR submission for a Super Metroid remix. Track Artists: Arr., Keys: Torby Brand Real name: Torbjørn Brandrud Links: https://youtube.com/c/TorbyBrand https://fanlink.to/torbybrand Submission information: Track name: A Hunter's Epilogue Source Game: Super Metroid Source Track: Credits Track link: Comments: This track was part of the 2021 project "Harmony of a Hunter: Returns" by Shinesparkers, the following comment on the track are in that context: "Once again I've been blessed to participate in a Shinesparkers project! And for the first time, as a participating performer. I became a Metroid fan long before I was a pianist and music producer. This is the first time that I've truly gotten a worthy opportunity to express those two together. Because I entered the project at a later stage, there was added pressure to the task at hand. I needed to finish the track in time, but most notably, deliver a piece that was worthy of the source material and of the peers around me. I'm happy to say that in addition to making it in time, I was happy with my effort and that I gave it my all. Super Metroid is not only one of the most iconic Metroid games, it's one of the most iconic games of all time! And so, to tackle this piece was no small task in my mind. The original track is composed of music that plays before the credits, during, and after. The chronological structure made it more challenging to arrange. I decided to embrace the idea of a faithful but expanded and "upgraded" piano rendition, while still carrying the essence of the game's ending. Samus has just left Zebes when the original track plays, that's why I found it fitting to start up with a reference to Samus' theme that plays during the final fight. On the other end of my piece, I included a version of the classic appearance fanfare. Using it in a Metroid arrangement is far from an original idea, but I think the chord modification carries the mood change well, and it gave me the "beginning at the end" effect that I was looking for. Additionally I sprinkled the iconic Samus arpeggio throughout the piece for dramatic effect, whereas it only plays towards the end in the original. Most of the arrangement choices were made in the numerous, smaller decisions. Additional harmonies, flurries, added melody, staccato and legato balances and the dramatic changes in dynamics and mood. Adapting orchestral pieces for piano does inevitably mean stripping down the arrangement to some degree, but that does not make it necessarily easier in my view. It's challenging to make it compelling on its own, and to pick what to include, what to expand on, and how. I wanted to highlight my passion for this piece, this arrangement, and for the franchise that brought me here. Thank you to everyone involved and to Darren for including me! Metroid will always have a place in my heart, and so will its music." Best, Torby Brand

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I essentially commissioned The Orichalcon's "Person, Place, or Groove?", so I'm glad it could serve as inspiration! Opens up sounding stilted, both the piano and particularly the drums, so the parts lack synergy. From :21-on, the bassline does register if I pay close attention, but it just gets absorbed into the background and isn't meaningfully audible, which was a problem throughout. It's just too subtle. I liked the tone of the lead at :44, though I'm partial to anything reminding me of the Sega Genesis. But does it genuinely work with the rest of the instrumentation? Throughout, the sparse percussion doesn't properly drive things forward, so that feels like the main culprit on why this doesn't click. I really liked the ending section from 2:40-on; great ending section (though there's a dissonant chord behind the last note at 3:08; it didn't hugely bother me, but I still noticed it). I didn't wrap my head around the arrangement, but without the "performance" feel cohesive, the arrangement's unfortunately a moot point for me. I'd love to hear another pass as this with smoother-sounding multitracking and bassline that registers. Great potential here, Dan! NO (resubmit)

Closer to a sound design-focused personalization of Ben's version as opposed showcasing lots of melodic & structural variation, but personalization was there, particularly the textures. From 2:19-on, the textures were sounding cluttered, and from 2:03-on the sequencing of the electric guitar synth doubled with the dulcimer (?) both sounded stilted. The end also faded down too quickly. No issue was a dealbreaker, just worth noting and something that prevented this from sounding as cohesive as possible. I appreciated how Keenan's 2:19 section pulled from 6:10 of Lena Raine's original source "Resurrections", but adapted it more for the mood of Ben Prunty's "Old Site (Black Moonrise Mix)"; nice blend and nod to both renditions. It's something where I wish the mood differed more overtly from Ben's version, but when you look a level below the surface, there's substance to the approach. YES

ReMixer name: BeanJammin real name: Keenan Lind email address: website: kl-music.com userid: 38010 Game: Celeste Name of Arrangement: Black Moonrise - Midnight Mix Name of song arranged: Old Site - Black Moonrise Mix Composer: Ben Prunty (remixed from Resurrections by Lena Raine) Original Soundtrack: https://radicaldreamland.bandcamp.com/album/celeste-b-sides Comments: First project I've worked on since I've found this community that is a proper VGM remix! This track was an ask from a custom mapper in the Celeste community for a campaign they're putting together, and I'm pretty pleased with the way it turned out. Hopefully I did everything right in the submission process here, please let me know if I didn't and how I can fix it!

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I refuse on both counts!

The soundscape certainly sounds nice, but it opens up like a straight cover, so we'll see where it goes. OK, there's finally distinction in the instrumentation once the beat comes in at :43. 1:20 further personalized the arrangement approach with the beat & bassline and some lead changes & SFX. Not sure why the highs sounded too piercing, but that should have been pulled back. Same with the beats that came in at 2:22; there's a piercing aspect of the snaps that's unpleasant as well; though it's not a dealbreaker, I'd argue that beat also plods. Fadeout at 3:12 was definitely a lamer one, and I'm not inherently anti-fadeout. It's gonna sound like I don't respect Martin and am making a leap in logic -- the fadeout, as it is now, does come off lazy in an "I give up" kind of way. You could have given that final section another 15-30 seconds with a minor variation, IMO, and then went for the fade. I liked the original countermelody brought in at 2:47, so varying that writing more could be the component that allows you to stretch some more time and substance out of the arrangement before the fade. The way this is mixed isn't as cohesive as it should be, which plays in part to the high end/piercing issues I'm having. I'm also not a musician or producer, so someone else would have to elaborate more on what's not quite working here. But does it get more right than wrong, and enough to tip it over the line, IMO? Yep. Some arrangement and production revisions ahead of posting this would be nice, but if that weren't possible, I'm fine with this as is; it's a reasonably developed concept. YES EDIT (8/29): Can't say I enjoyed the writing of the new resolution, but credit for making it seem off until the VERY last note that resolved it properly; I got a quick laugh out of that one. Still solid. EDIT 2 (8/30): And a longer version now. There we go, everyone's a winner. Thanks, Martin!

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I refuse!

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This is so, so great.

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